For decades, work was designed around a fiction, that of the 'neutral' worker, an abstract individual assumed to be fully available, consistent, rational, and unaffected by bodily constraints. But this neutrality was never real.
The identity had become so central to who I thought I was that letting it go felt like admitting that entire chapter of my life had been pointless.
Holly Humberstone describes her music as a patchwork of influences, stating, 'My sound is very much a patchwork: Taylor Swift's diaristic instincts; Phoebe Bridgers' arch folk intimacy; vocoders and synths that are pure 1975.'
The most obvious example is the adoption of the singular 'they' to replace clunky constructions like 'he or she' and 'he/she.' Language purists argue that this is ungrammatical, even though 'they' has been employed in just this way by authors as diverse as Chaucer, Shakespeare, Austen, Dickinson, and Shaw.
Since the 1990s, a largely underground upwelling of trans creativity has helped new trans identities, communities, and political movements come together. Trans Cinema provides an entryway to the wildly diverse and creative cinema made by trans creators, including those who are BIPOC.
Lydia Love stated, 'He wanted to be the star of the show and really show off. I would hype him up.' This highlights Noem's desire for attention and validation during their interactions.
I'm transmasc but not out at work, and each time Alex is misgendered I also feel invalidated and even a bit unsafe. This hasn't impacted my work necessarily, but it has impacted how I view and feel comfortable with my co-workers. I know I'm expecting a lot from people with Harry Potter and Bible quotes in their offices, but I feel like they should at least be trying.